(…) Pierre Godet's natural reserve – he never was and never will be a careerist – has meant that he has journeyed in a spiral, from the exterior to the centre: New York, Brussels, Le Havre, Dieppe, Cherbourg, New York and Le Havre... It was only in 1982 that he found himself finally alone in Rouen, on the walls of the Gallery Rollin.
Pierre Godet is up there with the rest of the Fauves but outside the cage. However, the audacity of his choice of colours, and the clash of tones imposed by the subject and which he refuses to soften, place him alongside (…) Van Gogh, Marquet (…), Derain, Vlaminck, Van Dongen… and even Raoul Dufy, in his attentiveness to the framing, or Alechinski in his thirst for lyricism. (…)
(…) For him, painting is a necessity, an all-time "obsession" that is fed by his demand for sincerity, which is his arm against falling into a routine, leaving the same marks or "paw-prints", and approximations.
Each canvas embodies the new adversary in his solitary combat, and he takes it on like a wrestler who fights in sun or rain. (…) Pierre Godet has the fervour of a trappist who isolates himself from the world to better hold the real universe tight in his arms.